<p> This treatise explores the historical background of instrumental educational outreach concerts, and provides an overview of current educational outreach programming. The closing section discusses educational outreach concerts presented by a solo violinist, and provides a blueprint for a teaching performance which explores the storytelling power of music. Newly commissioned works for solo violin are included which are especially suited for outreach performances for children.</p><p>

A study was carried out to examine the interaction between music and language in learning and recall in children with autism spectrum condition (ASC). The research comprised initial interviews (N=12), a questionnaire (N=320), and a comparative intervention with children with ASC (N=24), and a comparison group of neurotypical individuals (N=32). Results from the questionnaire showed that, in the view of parents and teachers, there was a high prevalence of singing amongst children with ASC, especially in those with language delay. Furthermore, in the view of parents and teachers, music was more likely to enhance relationships for children with some language delay (as opposed to children who were non-verbal and children with age- appropriate speech). In the practical phase of the study, where children were asked to learn and subsequently recall both spoken and sung material, it was found that singing as opposed to speaking could enhance verbal recall for some children with ASC - particularly those with some language delay. With regard to the effects of language on melodic recall, for children with the lowest levels of musical development, the presence of language had a positive effect, but as the level of children’s musical development increased, the impact of language on melodic recall diminished. With regard to the comparison group, for children at Key Stage 1 (5-7 year olds), music had a positive effect on verbal recall in the long term, but for children at Key Stage 2 (8 -11 year olds), music had a negative effect, although this may have been due to external factors.

<p> The purpose of this study was to (a) examine influences on choral music adjudicators&rsquo; rating decisions of choral performance quality and (b) to see if differences existed among those influences by participants&rsquo; years of adjudication experience and academic training (degree focus). Part One of the study included eight randomly selected participants (<i>N </i> = 8), comprised of choral adjudication experts, to aid in the construction of the data collection instrument. Part Two of the study included a convenience sample (<i>N</i> = 71) comprised of choral music performance adjudicators within the southeastern United States.</p><p> For the primary purpose, the <i>Choral Adjudicator Preference Scale </i> (CAPS), a researcher-constructed data-gathering instrument, was developed to determine influences on choral adjudicators&rsquo; rating decisions of choral performance. A Cronbach&rsquo;s Coefficient Alpha measure of internal consistency was calculated to establish reliability of the CAPS data collection instrument. A coefficient of .934 was found for the CAPS, which indicated a high level of internal consistency. Validity for the data-gathering instrument was established through three sources, (a) an open-ended questionnaire sent to the eight choral adjudicators, (b) a thorough review of the related literature and (c) verification by choral activities chairpersons among the southeastern states. For research question one (What factors influence adjudicators&rsquo; decisions when adjudicating choirs?) a principal component analysis revealed 23 items that coalesced among four factors of influence: (a) the ensemble&rsquo;s performance, (b) visual aspects, (c) extra-musical aspects, and (d) the conductor&rsquo;s contributions. These four factors accounted for 61.49 percent of the total variance in participants&rsquo; responses.</p><p> For the secondary purpose, a two-way repeated measures analysis of variance was calculated to determine if differences existed among factors of influence by participants&rsquo; years of adjudication experience and academic training (degree focus). For research question two (Do differences exist among adjudicators&rsquo; influences on rating decisions by years of adjudication experience?) a significant main effect was found for the factors, <i>F</i> (3, 189) = 216.581, <i> p</i> = .000, &eta;² = .775; however, there was no main effect for years of adjudication experience, nor an interaction effect among the factors and years of adjudication experience. For research question three (Do differences exist among adjudicators&rsquo; influences on rating decisions by academic training?) a significant main effect was found for the factors, <i> F</i> (3, 201) = 195.326, <i>p</i> = .000, &eta;² = .745; however, there was no main effect for academic training, nor an interaction effect among the factors and academic training.</p><p> A discussion of the influences on choral adjudicators&rsquo; rating decisions was presented. Recommendations for future research were suggested regarding music performance adjudication, influences on rating decisions, and characteristics of evaluators.</p><p>

<p> The vocal jazz ensemble singing movement that began at Mt. Hood Community College (Gresham, Oregon) in 1967 reached the public schools of the Boise Valley, in Southwestern Idaho sometime in the early 1970&rsquo;s. The first generation of vocal jazz educators in the region were Jerry Vevig , Vern Swain, Moyle Brown and Lonnie Cline. In an effort to learn the new style, these four directors participated in the burgeoning vocal jazz scene occurring in the Western region of the United States. By the mid 1970&rsquo;s, vocal jazz ensemble education had become so prevalent in the Boise Valley region that the Jr. High School directors of the Boise Public School District were programming vocal jazz music and participating in many of the same vocal jazz events as their high school colleagues. These Junior High school directors included Bruce Walker, Catherine Gilck, Rich Lapp, Sue Hough, Paul Olson and Rob Newburn. The 1980&rsquo;s saw the second generation of prominent vocal jazz singing ensemble directors begin their tenures in the Boise Valley when Glenn Grant, Quinn, Van Paepeghem, Linda Schmidt, Ted Totorica, and Barb Oldenburg, continued the tradition of vocal jazz style singing and event participation that their predecessors had initiated throughout the remainder of the era investigated (inception&ndash;1990). In the study, each subjects experiences and education in vocal jazz ensemble singing is documented and specific techniques they employed when working with their vocal jazz ensembles are revealed. The literature used by each vocal jazz educator from the Boise valley (1970&ndash;1990) is also exposed, collated, and presented in the document for reference and use by future choral music educators.</p><p>

<p> This research explores Chicanx identity and how <i>cultura,</i> specifically <i>son jarocho,</i> can be used to reshape and remake identity. <i>Son jarocho,</i> a musical and cultural tradition from Veracruz, M&eacute;xico, has moved across borders, and is now present in the U.S. (D&iacute;az-S&aacute;nchez and Hern&aacute;ndez, 2013). However, there is little documentation as to how <i>son jarocho</i> is embodied in the communities that are practicing this music. This research documents how an intergenerational collective of Chicanxs in San Antonio, <i>Tejas </i> is using <i>son jarocho</i> and its <i>cultura</i> to decolonize their identities, reclaim indigenous and afro-mestizo roots, and as a vehicle for social justice. Through <i>testimonios</i> from Chicanxs, this thesis documents how <i>son jarocho</i> traditions and culture have formed transnational communities between Chicanxs and communities in Veracruz, <i>M&eacute;xico.</i> Through Chicana feminist epistemologies (Delgado Bernal, 1998) and decolonial research methods (Tuhiwai Smith, 2012), this thesis documents Chicanx stories through Chicanx voices. This research aims to help fill the need for documentation&mdash;through Chicanx voices&mdash;on how Chicanxs today are using the arts to build community. </p><p>

No description available.

Thesis (Ph. D.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--University of North Texas, 2003. / Includes bibliographical references (p. 166-179).

Thesis (M.I.T.Ed.)--University of Melbourne, Faculty of Education, 2002. / Typescript (photocopy). Title of CD-ROM in back pocket: Attachment 1 - Student work in audio format, June to August 2001 all participants. Includes bibliographical references (leaves 106-110).

Thesis (M.M.)--University of Michigan, 1943.